Le dieu caché
01 Jan 1921-
About: The article was published on 1921-01-01 and is currently open access. It has received 59 citations till now.
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DOI•
01 Dec 2009
TL;DR: The Metacritic of Genetic StructuralismMojgan Mahdavi Zadeh assistant professor, University of Isfahanmojgan_mahdavi@yahoo.fr(Received: 23.10.2006, Accepted: 22.05.2007) as discussed by the authors
Abstract: The Metacritic of Genetic StructuralismMojgan Mahdavi ZadehAssistant Professor, University of Isfahanmojgan_mahdavi@yahoo.fr(Received: 23.10.2006, Accepted: 22.05.2007)AbstractLucien Goldmann called his research the “genetic structuralism”. By using theprinciples of this method, in human sciences generally, and in critic literatureparticularly, Goldmann has discovered the similarities and differencesbetween the big complementary schools of critic literature that attachedthemselves to his method. For him, the genetic structuralism, by hypothesis, isthat human behavior is a try to give an answer significant to a particularsituation. In fact, for him, the harmony between the mental structure and theexternal world leads to a situation by which the human behavior can changethe world. But can this social research be the most certain instrument forliteral phenomenology? Has Goldmann not forgotten the literary text? Whensomeone is nothing but an element of a social class, doesn’t his individualpersonality disappear totally in the aspirations of his society? Whatdifferences distinguish between the tragedy writer Racine and the comicwriter Moliere? Didn’t they live both during the reign of Louis XIV in theseventeenth century? Is the social identity really beyond the individualidentity?Key words: phenomenology, social, individualgenetic structuralism, metacritic, structuralism, literature,
2 citations
2 citations
TL;DR: The discursive itinerary of France's most celebrated of dramatic poems (the poeticized tale of that long lost daughter of Minos and Pasipha) is one of meaning divested, forever deferred; it is the inly, circuitous path of speech as act of excission as mentioned in this paper.
Abstract: EVER SO INDOMITABLY, an inoperative trope—center-staged— is a theatricidal trope, a meta-textual figure dancing in selfcontained circles, dizzily mesmerized by its own puerile, inexpansive demeanors, by the blinding, pervasive choreographical scenario it scripts up and plays out. Metonym, in a sense, of none but its own-ness, its one-ness, its disengagement from, and cramming out of, all that is other; cipher of its prideful failure to refer, however tweaked or coerced: we have here, in purposefully reductionist terms, the undergirdings of a construct that will sustain neither continuity nor closure, a kind of discursive illegitimacy, its deviance aptly rooted in its blatant refusal to deviate. Thus does discourse transpire as but a breed of involuted play, a repository of object-less desire, an interstice, an illusion, oxymoron, annulation, oneiric absence until it slakes perniciously into silence. The discursive itinerary of France's most celebrated of dramatic poems (the poeticized tale of that long lost daughter of Minos and Pasiphaë) is one of meaning divested, forever deferred; it is the inly, circuitous path of speech as act of excission. The word spoken is a priority forbidden, forever verboten, retrieved and retracted only to be extracted and subverted—endlessly, again. Whence, Phà ̈dre's dismantling tropology of desire stands fundamentally and crucially as an autotelic figuration of its own limits, the unremitting deferral of its own actualization, a commentary from within upon the corrosive substance of its own literarity. A like discourse interminably re-enacts, repeatedly reifies and evis-
2 citations
01 Jan 2012
TL;DR: The analysis of the semiotic relationship between the city and the science fiction mode in Transmetropolitan allows first of all for a critical introduction that challenges certain canonical certainties regarding the Science fiction mode as well as the medium of comic books, and lead us to refine our terminology to better distinguish literary genres from narrative modes as mentioned in this paper.
Abstract: The analysis of the semiotic relationship between the city and the science fiction mode in Warren Ellis and Darick Robertson’s Transmetropolitan allows first of all for a critical introduction that challenges certain canonical certainties regarding the science fiction mode as well as the medium of comic books, and lead us to refine our terminology to better distinguish literary genres from narrative modes. Transmetropolitan can be considered as paradigmatic when it comes to the treatment of the city in the science fiction mode for it offers a variety of interpretive layers, which, when studied from the particular to the general—from micro to macrostructures—enable us to establish a vast array of connotative levels that work complementarily in order to generate a highly coherent narrative semiosphere. Ultimately, the study of the narrative function of the city as theme and background in the Transmetropolitan saga reveals its political and ethical intentionality, which transcends the ideological limitations of post-structuralist cultural constructionism and puts forth a hopeful, albeit
2 citations
References
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TL;DR: Parsons as discussed by the authors argued that the difference between society and individual, between social and motivational factors, and between Durkheim and Weber does not matter very much in the field of sociology where this very difference is the core problem of theory.
Abstract: Sociological theory in its present Alexandrian phase seems to be preoccupied with the interpretation of its classical authors.' Doing sociology of religion means doing empirical research on presumably religious persons or institutions; and it means returning to Emile Durkheim or Max Weber for theoretical inspiration. Religion, then, is supposed to work as an integrative factor on the level of total societies and as a motivational factor on the level of individuals. At both levels it supplies the meaning of meaning, a meaningful "ultimate reality". All symbols and values that operate at this highest level of last resources can be qualified as religion -and be it a civil religion in the sense of Rousseau or Bellah. We also know the objections. Religions can stimulate debates and fights. They also have disintegrative effects. Their motivational effect may well be a questioning of religion itself. It may be a social activity, but also a retreat. Statements about the function of religion resemble proverbs. They always need counter-proverbs to be operationally useful. Years ago Clifford Geertz (1966:1) aired the same complaint about dependence upon classical authors with respect to anthropological research. It may have been a mere accident that his lines were written in an essay on the cultural system of religion. But if this coincidence happened only by chance, it still was a significant accident. In fact, systems theory, at that time, was hardly able to deliver the goods. Parsons himself had started be presenting his classical authors. He attempted to show that the difference between society and individual, between social and motivational factors, and between Durkheim and Weber does not matter very much; and that it cannot matter very much in the field of sociology where this very difference is the core problem of theory. This preoccupation with a historical problem, with the split paradigm of individual and society, led Parsons to look for a solution by unfolding the framework of the general action system which could assign appropriate places to the personal system, the social system and other systems as well. He had to pay foreseeable costs. He had to present his generalizations as a purely analytical framework, based on an analysis of the components of the concept of
81 citations
TL;DR: In this paper, the authors present a list of states that are essentially by-products of rationality, bias, and ideology, including sour grapes, as well as byproducts of belief, bias and ideology.
Abstract: Preface and acknowledgements 1. Rationality 2. States that are essentially by-products 3. Sour grapes 4. Belief, bias and ideology References Index.
70 citations
TL;DR: In this article, cultural awareness as vocabulary learning is used for language learning in the context of cultural awareness in the language domain, and the results show that cultural awareness is useful in vocabulary learning.
Abstract: (1997). ‘Cultural awareness’ as vocabulary learning. The Language Learning Journal: Vol. 16, No. 1, pp. 51-57.
61 citations
Dissertation•
03 Dec 2008
TL;DR: In this article, a travail de recherche propose to consider the pratique du cinema dans les salles Art et Essai comm as un processus dynamique de mise en relation des individus avec les films and des indivus entre eux.
Abstract: Dans une visee communicationnelle et sociologique, ce travail de recherche propose de penser la pratique du cinema dans les salles Art et Essai comme un processus dynamique de mise en relation des individus avec les films et des individus entre eux. Il repose sur deux enquetes par questionnaire auto-administre conduites aupres de spectateurs frequentant des salles de cinema Art et Essai de la region Provence-Alpes-Cote d'Azur. Ces donnees sont completees par des analyses semio-discursives de critiques de cinema prelevees dans le magazine Telerama et dans le programme du cinema d'Art et Essai Utopia (Avignon) ainsi que par une serie d'analyses filmiques s'inscrivant dans le champ d'une sociologie esthetique du cinema. L'objectif est d'etudier la formation socio-discursive de la valeur dans le champ du cinema et de voir en quoi cette valeur participe de la constitution d'ensembles communautaires de pratiquants autour de la notion d'Art et Essai, en tant qu'elle circule et genere des representations. La premiere partie propose de definir l'objet de la recherche : la pratique du cinema dans les salles Art et Essai. Elle construit des outils permettant de saisir empiriquement cette pratique et demontre qu'elle engage un rapport specifique au social. La deuxieme partie montre que les recherches sur la pratique du cinema en salle reduisent, le plus souvent, l'activite spectatorielle a un geste d'appropriation des films alors que cette activite renvoie tout autant a un geste de constitution sociale de la valeur sociale des films. Enfin, la troisieme partie etudie la maniere dont les individus se positionnent et reagissent vis-a-vis de cette valeur. Elle montre qu'il y a une identite de l'Art et Essai autour de laquelle se constituent des agglomerats d'individus assimilables a des regroupements communautaires. Elle permet ainsi de repenser ces espaces de pratique a partir de la notion de communaute. En s'appuyant sur l'etude de la pratique cinematographique, cette recherche propose, plus largement, de discuter la pertinence de la question de l'(il)legitime des objets culturels.
34 citations